I have never watched A Street Car Named Desire. As a part of my goal to see one classic
movie I have never seen each month during the course of my “I have never...”
year, watching A Street Car Named Desire
seemed an obvious choice. Although my limited knowledge of the film created no
real desire to watch it prior to this year, my “I have never...” research on
some of the greatest movies in history revealed A Street Car Named Desire was bound to a series of distinct honors
in American cinematic history. Particularly, the film was consistently
recognized as groundbreaking in its willingness to take on themes of domestic
violence and mental illness, and its rare feat of garnering academy award wins
in three out of the four acting categories set it aside in the annals of
American cinema. As a result, I decided I would sit through the film for the
first time as a part of my “I have never...” year. At minimum, I figured the
experience would offer some deeper insight into the evolution of modern cinema,
but I never expected it would leave me heavy and morose by the time the film
reached its conclusion.
Although I had a basic idea of the premise behind A Street Car Named Desire heading into
the movie, the film’s rapid progression from a woman seeking a new life with
the help of her sister in New Orleans to a tale of instability, despair, and
forlorn caught me by surprise. As I watched Blanche DuBois fall into the
trappings of the tormented life led by her sister, Stella, I felt myself caught
between a state of disconnection and compassion. Under the thumb of Stella’s
significant other, Stanley, I watched as the man progressively detracted any
element of control in Stella and Blanche’s lives. Through fear and violence,
Stanley dictated and left Stella feeling helplessly bound to his way of life.
In a state of dystopia the couple existed beyond the scope of reason, and
Blanche was simply left to tolerate the madness and let it slowly eat away at
her well-being.
|
A hopeful new start |
Very early in the film, I was at a loss as to why Stella
and Blanche persisted in the environment, but their lack of any alternative
made me realize plotting an escape was likely too heavy a lift in such
desperate conditions. As a result, I could only look on as Stanley’s control
and anger swelled while Blanche attempted to fight her demons, escape her old
life, and rescue her now-pregnant sister. Behind a thin veil of gentry, her struggles
and alcoholism took their toll as she fought for herself and Stella, until she was
left incapable of finding happiness and managing her day-to-day life.
|
STELLA! |
|
A hollow love |
As the film progressed it became apparent the
environment and circumstances surrounding Blanche were eroding her mental state
and pushing her toward a sudden brink. Behind the illusion of a relationship
with one of Stanley’s friends, Mitch, she simply was at battle with the reality
around her and the forces within. As a viewer, I was in dismay at her tortured
existence, hopeful she would find a way to her happy ending, but almost certain
she would not. This perspective was only reinforced when Stanley took action to
uproot Blanche’s relationship with Mitch and sent her life into an accelerated
spiral. Weary and detached, Blanche barely held on until a final confrontation
with Stanley on the day of her nephew’s birth, which resulted in an intoxicated
Stanley forcing himself upon Blanche in her sister’s absence, shattering any
semblance of stability left in Blanche’s mind.
|
Slipping away |
|
The final confrontation... |
|
...and a woman, lost. |
In the final minutes of the film I held my hand to
my face as scenes of a delusional Blanche flashed across the screen. Broken,
she lived in a false existence, relying on escapism to distance herself from
the reality of living under the same roof as the man that had violated her and
continued to punish her dejected sister. Eventually seeking to remove the last
ties to the woman he had assaulted, Stanley used this slip in Blanche’s mental
state to have her removed forcibly from the home and thrown into an
institution. In my mind, it was the final insult Stanley could offer to
Blanche, which solidified isolated, sad feeling I had felt building throughout
the film. Although the final scene of Stella promising her newborn son she
would cut Stanley out of their lives and climbing the stairs to the safety of
her neighbor’s apartment offered some hope, to me that outcome was anything but
certain.
|
Solemn hope |
With the credits rolling, I sat next to Rachael
silent for several minutes before she broke the silence. “That was something
else, huh?” Rachael said quietly. At first, I simply nodded my head in
agreement, still formulating my thoughts on the movie. It wasn’t until the
television screen went black that I finally spoke. “You know, it’s sad and
uncomfortable,” I said staring at the blank screen, “but it was meant to be
that way. This was one of the first films to take on the concepts of domestic
violence and mental illness in an authentic way. It’s heartbreaking, but it
cast a light over dark places.” The words escaped my lips effortlessly, and
they made me realize the real power of A
Street Car Named Desire. As a film that didn’t gloss over controversial
topics, it encapsulated many of the ills of society and their effects on
people. It made terrible concepts real, forcing the audience to talk about them
openly. In the early 1950s that was revolutionary and it helped establish the
potential of cinema going forward. While the story wasn’t a happy one, there
are a lot of lessons to be learned and a lot of perspective to be gained from
this film. Those takeaways make me glad I finally took
time to watch A Street Car Named Desire.
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